Due to the happy arrival of
2 grandbabies, I find myself on the road a lot: 1 hour (with luck) to visit
baby Hannah, now 20 months old; and 7 hours (including pit stops) to visit baby
Leo, now 18 months old. Unless there’s
terrible traffic, with the radio for company and the beautiful scenery outside
my window, the 1 hour trip goes by in a flash; but the 7 hour trip can seem
interminable: the radio comes and goes,
about half of the drive is exceedingly ugly, and there’s always traffic.
I’d been urged to listen to
Books on Tape for a very long time – back when they really were on tape! – and I
tried it once. On a 6 hour drive from
Washington DC to New York City, I listened to I CLAUDIUS.
And I hated it.
I took this trip often and I
would gage my progress more by the time that passed than by the landscape: three hours; half way there!
But while I CLAUDIUS, may
have taken 6 hours of listening, it felt as though centuries had passed, with emperors coming and going, with
innumerable battles won and lost, and with an astonishing number of poisonings
and murder. As I’ve never been one to stop something I’ve started – I never
walk out of the theater during a bad play, concert, film; never leave a book
unfinished – I continued to pass the centuries with Claudius.
And vowed never to listen to
a book on tape again.
But: 7 hours?
And annoying traffic despite being on a 12-lane highway? And huge stretches of ugly shopping centers,
one right after another?
With the advent of Audible.com where you can easily download an entire book onto your mobile phone
and never have to change a tape or CD, I decided to try again.
And I love it!
For one, I don’t feel as
though I’m wasting my time during these 7 hours. And as I’ve learned to choose my books more
wisely – to only listen to stories that stick to one lifetime; and to choose my
Reader carefully – I find that listening to books makes the time go by
quickly. I confess that some [very few]
times, I’ve even stayed in my car after I’d reached my destination, just so
that I might pause the book at a more opportune moment. (Don’t tell Leo!)
The act of listening to a
book instead of reading one is a completely different experience. In a very real way, an audio book is a
continuation of an oral tradition that is the beginning of all literature. And for most of us, having stories read to us
is one of the first ways in which we become familiar with language; it can
bring you back to that happy time when books were read aloud, especially for
you. It’s also a way to preserve the
sound of language as spoken today.
Wouldn’t it be grand if we could know how words sounded in Shakespeare’s
day instead of making a guess at it?
Of course, when you listen
to a book, its Reader makes choices for you that you might not yourself have
made – for better or worse. You also
can’t catch all the nuances of language and style, as you can’t slow
down the pace or re-read passages you particularly like or that need
clarification.
I tried a few times to “bookmark” a particular page I liked, or to
replay a passage or two that I found unclear, but that didn’t seem to help. Besides, if the “medium is the message” then
each one requires a different approach, and with audio books, it seems best to
just let the words wash over you, to get into the mood and not into the
details.
And this is why you must
choose your book and Reader carefully.
A book I love but hadn’t
read in a long time is William Faulkner’s LIGHT IN AUGUST, so I decided to
listen to it. This proved a poor choice,
as the book includes lots of southern and other dialects and has a plot that goes
forward and backward in time, both of which require a lot of concentration. So although
the book had an excellent Reader, I found it difficult to grasp or appreciate
enough of the novel while also paying attention to my driving.
Summerset Maugham’s OF HUMAN
BONDAGE failed because the Reader (male), tried to approximate the voices of
the women – which is not at all necessary! -- by giving them squeaking voices
and mincing manners. I hated the story,
the characters, the entire experience: and
it was the Reader’s fault. I will avoid
him in future.
But I thoroughly enjoyed the
historical novels of Hilary Mantel – WOLF HALL and BRING UP THE BODIES – as it
brought to life Tudor England as told through the eyes of one of its major
players, Thomas Cromwell. They are quite
detailed novels, but I already “knew” most of the major characters so that made it
easy to follow. I’m looking forward to
the next volume in this series.
Of late, I’ve also listened to “celebrity” Readers – Colin Firth reading Graham Greene’s
THE END
OF THE AFFAIR (swoon!); and Jeremy Irons reading Vladimir
Nabokov’s LOLITA.
Irons’ reading of LOLITA is
a revelation; it is laugh-out-loud funny; it is poignant; it is tragic; it is
beautiful. His Humbert is clueless at the same time
that he is defensive; he is pleased with himself at the
same time that he is angry and embarrassed. Beautiful language is used to
tell a tragic and comic tale, and Irons manages
this to perfection. There are lots of descriptive
“lists” in this book – of landscapes, of types of people, of the American
systems of education, of law, of love, of passion – and they are as acutely
read as they were written. Perhaps they’re even better, as in Irons' reading of
them, they don’t feel like mere lists but are melodious and funny…. Listening to Irons makes the novel resonate and reminds us of its brilliance.
But one of the
main problems with audio books -- no matter how wonderful! -- and why reading a book is usually better than listening to
it, is that in the audio book, the Reader
can replace the character as written. Irons completely replaces Humbert. Forever.
Despite Nabokov's physical and mental description of Humbert, I will
no longer be able to imagine him for myself. (I can’t even picture James Mason
as Humbert any more!) For me, Maurice Bendrix is Colin Firth; Humbert Humbert is Jeremy Irons – and not the other way
around -- frozen that way forever:
goodbye imagination.
I’ll never listen to a “celebrity”
Reader again; I’ll never listen to anyone I can “picture.” **
And no matter the Reader, as most of the books we listen to
were written to be read, that's probably the best approach to the material, the best approach to this particular medium. When you're doing the reading, the writer's words
won’t just wash over you, but you’re free to slow down, to stop, to re-read,
and to savor each and every one of them. And when you're doing the reading, you collaborate with the writer in creating the characters, the
settings, the emotions, the emphasis.
This is, of course, what the Readers of these audio books have done; but
when you read rather than listen, you get to do it yourself: the story, the
characters, the setting – the book is yours!
Still, I won’t stop
listening. (After all, 7 hours!) But I only listen in the car, never at
home: home is reading space.
But when in the middle of a
good listen, I can choose to go to the grocery store that’s 6 miles away rather
than the one that’s just across the street.
What’s wrong with that?
- - - - -
** Note: My son-in-law, Robert Shapiro, is a [wonderful]
reader for Random House and others. You
can download his books; and as you don’t know what he looks like, you can use
your imagination to picture anyone you want when you listen!
3 comments:
Helen, if you'll never listen to anyone you can picture, what about seeing films made from books? What, specifically, about seeing Colin Firth as Mr. Darcy? Can you read PRIDE AND PREJUDICE now without seeing Mr. Firth in the film role?
I understand what you're saying, Pamela, but to me, there's a great deal of difference between a film and a one-person reader of a book. Film has so many other things that draw your attention: set, costume, other characters and the like. In the case of Colin Firth's Mr. Darcy -- my favorite! -- I didn't enjoy the others in the cast as much as I enjoyed those in other productions; so when I think of those other players, flashes of other Darcys come to mind as well. (There have been so many.) But in a reading, the Reader is EVERYONE and there's no distraction from his/her presence, no possibility of thinking of anything or anyone else. This is especially true, of course, when the Reader is the book's narrator as well, as in the case of the ones with Firth and Irons. And for me, the only film actors who cannot be changed EVER are those in GONE WITH THE WIND! All of them.
I see what you mean now, Helen -- the reader being EVERYONE in the book. And I just had a flashback to a real-life experience, going to hear Peter Matthiessen read from one of his books about Mr. Watson. The author had such an overwhelmingly magnetic stage presence that I had to close my eyes to be able to hear the story at all. Eyes open, I had no thought anyone but the author!
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